其他摘要：In the late 60s and early 70s (1966-1971), Lydia Milagros González's theater group, El Tajo del Alacrán, proposed a new eutopic Puerto Rican society using characters that represented people who were excluded from the history of the nation. The discourse of educated elitists silenced, invisibilized, and overlooked these people based on social status, race, and sex. For this reason, in the following analysis of Puerto Rican theater, we will find similarities between the popular theater group El Tajo del Alacrán and The New Latin American Theater proposed by Osvaldo Dragún, Augusto Boal, and Enrique Buenaventura, among others. This cultural output served as the rehearsal for a decolonization revolution achieved through recruitment of the oppressed classes, or the people of the nation, and through the awareness aroused by Marxist socialism. Therefore, the purpose of this work is to expose and transgress the other side of the history of Puerto Rico using the Textos del Tajo del Alacrán. To this end, Puerto Rican theater has been one of the greatest contributors to the cultural output of the nation.
关键词：Popular theater; Vanguard theater; Latin American theater; Puerto Rican theater; Marginal subject
